邁向政治城市：重新書寫在建築類型中缺席的市民

本設計方法論文，旨在探討城市中的市民性，透過後殖民理論的角度，重新書寫建築範疇中被現代歷史意識的線性邏輯、進步意識形態、同質性時間所排除的底層市民在空間架構中的位置。另外借鏡酷兒動態影像的特徵：凝視並具體表達 (to Gaze and to Articulate) 、製造相遇 (Encounters) 、改變時間性、並置差異的時間，作為翻譯市民語言的空間手法。研究架構分為三個部分：第一部分檢討城市與建築中將市民作為集體 (Collective) 的存在一概而論，忽視了城市的社交性 (Political) 與異質性 (Heterogeneity) 本質；第二部分批判基礎設施作為公共場域的架構，卻缺乏市民生活賴以維生的社群網絡功能 (Social Function) ；第三部分透過攝影影像具有客觀性、指示性 (Indexicality) 和刺點 (Punctum) 的時間特徵，找回市民群體 (Multitudes) 的差異性並作為非設計 (Non-Design) 的操作使建築設計產生生產性閱讀 (Productive Reading) 以打開封閉性系統。設計研究方法以建築類型學爲架構，將建築作為對話的空間語言，分為兩個步驟：首先打破類型中的傳統 (Convention) ，重新以空間組織性 (Formative) 的類比，產生衍生性 (Generative) 的組合方式，將缺席的市民重新置入在建築中。再來，將建築類型與魔幻寫實敘事結合，將真實文本透過異常 (Uncanny) 文本閱讀的結構重寫，在改變時間性與表現語彙時，讓看不見的市民主體得以在公眾領域出現，並重新擁有話語權的機會。

關鍵字

時間性批判；後殖民理論；底層研究；類型學；城市設計；社群基礎設施；住宅；魔幻寫實主義

並列摘要

The thesis of architectural design methodology aims to explore the citizenship in the city. From the perspective of post-colonial theory, re-writing the position of citizens in the architectural framework that are excluded by the linear logic, ideology of progress, and homogeneous time of modern historical consciousness. In addition, I use the characteristics of the queer dynamic image: to Gaze and to Articulate, to make encounters, to change temporality, and to juxtapose different times, as a spatial means of translating the citizen language. The research structure is divided into three parts: The first part reviews the citizen as a generalization of the collective in cities and architecture, ignoring the nature of the political and heterogeneity in the city; the second part criticizing the infrastructure as the structure of the public lacks the social function that the civic life depends on for survival. The third part I use the temporality of photographic Image: objectivity, indexicality ,and punctum to look for the diversity of the multitudes and as a non-design operation enabled the architecture design to produce a productive reading to open the closed system. The architectural design-research methodology is based on architectural typology. The architecture is used as the spatial language of dialogue. It is divided into two steps: firstly breaking the convention in the type, and re-generating the generative system in the analogy of spacial formative to re-incorporate the absent citizen into the architecture. Then, combining the architectural typology with the magical realistic narrative, rewriting the real text through the structure of the uncanny reading, allowing the invisible citizen subject to appear in the public when changing the temporal and expression and to have the opportunity to speak.